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Nigel North’s Dowland Lute Edition has gained him a garland of critical accolades. On this fourth and final volume, North presents a selection of dances and songs by the composer celebrated as the ‘English Orpheus’

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John Dowland: The Most Sacred Queen Elizabeth, her Galliard, P. 41

The Most Sacred Queen Elizabeth, her Galliard, P. 41

John Dowland: The Queen's Galliard, P. 97

The Queen's Galliard, P. 97

John Dowland: Galliard in G minor, P. 22, "Dowland's First Galliard"

Galliard in G minor, P. 22, "Dowland's First Galliard"

John Dowland: Galliard in G minor, P. 21, "John Dowland's Galliard"

Galliard in G minor, P. 21, "John Dowland's Galliard"

John Dowland: Complaint, P. 63, "Fortune my foe"

Complaint, P. 63, "Fortune my foe"

John Dowland: The Frog Galliard, P. 23

The Frog Galliard, P. 23

John Dowland: Aloe, P. 68

Aloe, P. 68

John Dowland: Galliard in G minor, P. 31, "Galliard on Walsingham"

Galliard in G minor, P. 31, "Galliard on Walsingham"

John Dowland: Walsingham, P. 67

Walsingham, P. 67

John Dowland: Coranto, P. 100

Coranto, P. 100

John Dowland: Galliard in F minor, P. 27

Galliard in F minor, P. 27

John Dowland: Come away, P. 60 (arr. of Come again, Sweet love doth now invite, new version by N. North)

John Dowland: Robin, P. 70

John Dowland: Fortune my foe, P. 62

John Dowland: Loth to depart, P. 69

John Dowland: Dowland's Galliard, P. 20

John Dowland: The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard, P. 40

The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard, P. 40

Reviews

May 2009

*****

“The variations on 'Loth to depart' are teased out with a supple plenitude going straight to the heart of Dowland's sumptuous melancholy, while no two galliards ever sound alike (North one minute full of regal insouciance, the next sonorous and declamatory).”

August 2009

“…North is unhurried yet radiantly flowing both in terms of his ideas and their execution. …listen for example, to the precision and delicacy of Complaint and Aloe or to the crisp, lightly skipping phrases of the Coranto.”